Fetid Zombie, Vomiting in the Baptismal Pool

We’re big fans of Fetid Zombie around these here parts. Perhaps it’s because the one man dervish of mayhem, Mark Riddick, is local. Perhaps it’s the sick black and white art work the guy has been producing for years. Then again, it could be the anti-Christianity subject matter the dude slings around like aborted messiahs. At any rate, we dig this shit like no tomorrow.

Vomiting in the Baptismal Pool is the latest from Mark and sees his sound continue the growth we heard on the last EP, Abort the Messiah. With session drummer Brian Forman of Unburied behind him and a slew of guest vocalists (Bone Gnawer’s Kam Lee, Nunslaughter’s Don Crotsley, Loculus’ Steve Miller and Devourement’s Mike Majewski), Riddick unleashes a two headed beast with this most recent effort. The first half of the disc is a brutal blend of chugging death metal with technical flourishes thrown in for good measure while the second half of the album shifts to a more blackened and thrashier vibe. The combination of the two sounds results in 10 tracks of malevolence, gore and good family fun.

Bible Camp Massacre
How can you not get into a song with a title like this? “Bible Camp Massacre” gets the album off to a raucous start with pounding drums, distorted evil guitars and that patented, funky bass work that dominates the band’s albums. The guitar work is much more technical that some the past material Riddick has produced, making for a more varied and chaotic sound. As always the raspy, raw vocals are delivered through a range of pitches from guttural gurgles to mid-range vehemence.

Erotic Autopsy
After that short opening track, we shift to “Erotic Autopsy,” a song that’s a bit all over the place (in a good way) and a bit repetitive (also in a good way). The guitar tone is evil and the drum work unrelenting as we work our way through the track. I’m digging this track. It’s got a fresh vibe, but still carries the sound that I love from this guy. I love the guitar work that ends the track.

Fetal Delicacy
“Fetal Delicacy” explodes out of the gate with messy, pile driving drums and chugging riffs. The vocals are a little lighter (not sure who’s growling at this point) and give the track quite a kick in the balls in terms of a vile overall feel. The layered vocals also give the song some nice depth.

Graced by Gore
The groove that this next one starts off with is infectious to say the least. Hell, even Jesus is head banging on his inverted cross. The addition of the backing, gang shouts and the overall style of the main vocal delivery make this one hell of a fun track to listen to. “Graced by Gore” is a damn catchy tune and is definitely a favorite on the disc. Don’t forget to check out the sick lead at 1:57 which, I believe, is the first on the album and shreds nicely.

Tapeworm Diet
Man, the layered gurgles and growls on this one work perfectly with the disjointed feel of the squealing guitars and catchy bass work. “Tapeworm Diet” is another of those songs that you can really get caught up in. And be warned, you’re going to have your ass blasted off with some sick drumming and tortured guitars around the 1:13 mark.

The Saccharine Taste of Christian Flesh
This next one is probably where the shift to the blackened thrash occurs, though it’s not really all that thrashy. It’s messy and chaotic, sure, but also pretty damn slick. The drums are wildly all over the place as distorted guitar and guttural vocals bludgeon your ears with little to no regard for the end result.

Throne of Bone, Fortress of Flesh
Now here we go! That small shift we felt toward the thrashier end of the blackened spectrum is in full effect with this next track. Hell, there’s even a small bit of melody thrown into the opening guitar work for good measure, but it doesn’t last long as all hell breaks loose with a sick, but short lead around the :45 mark as blasting drums erupt. Head banging mayhem ensues.

Underground
“Underground” starts off a bit slower and more restrained than it’s brethren on the album. Steady drum work and memorable guitars slowly give way to chugging riffs and head banging groove. For the first two minutes the only form of vocal we hear are a few random sound clips of maniacal laughter and a few growls. That all changes at that two minute mark though as the main vocals and an up-tempo pace settle in nicely.

Vomiting in the Baptismal Pool
“Underground” was one of the more interesting songs on the album and stood out oddly, but Riddick gets back to the violence with the title track. This is a blasting, unrelenting monster of a song with layered vocals, squealing guitars and bestial drum work. It’s a dense track with lots going on.

Wrath of the Heretic
“Wrath of the Heretic” closes out the album with memorable guitar work and drum work right out of the depths of hell. The song is evil and menacing as the layered vocals come in with a slow, deliberate delivery. I would love to hear more of this sound from Fetid Zombie — it’s some of the more structured, mature song writing and is a standout track on the album.

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Additional Notes:
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